Showing posts with label the matrix. Show all posts
Showing posts with label the matrix. Show all posts

Sunday, 3 July 2011

Kable the Criminal Slayer

DVD Review: GAMER
18 – 91mins – 2009
Written by: Mark Neveldine and Brian Taylor
Directed by: Mark Neveldine and Brian Taylor
Starring: Gerard Butler, Michael C. Hall, Amber Valletta, Logan Lerman, Terry Crews, Ludacris, Kyra Sedgewick, John Leguizamo, Zoe Bell, Aaron Yoo, Mimi Michaels, Milo Ventimiglia, Ramsey Moore

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Noisome, bombastic, lurid and frenetically hyperactive; Gamer is a viewing experience not dissimilar to the Wachowski brother’s vomit-inducing Speed Racer – albeit for an older (if not necessarily more mature) audience. It’s unsurprising, really, given that this “ironic” statement on our technologically-obsessed society was hatched from the restless minds of the writing/directing team behind the chaotic Crank films. But for all its intent, Gamer is just too explicit and busy to be taken seriously.

In the near future, an ultra-violent multiplayer videogame called “Slayers” created by eccentric genius Ken Castle (Dexter’s Hall) has taken the world by storm. Gamers play as soldiers battling it out in bloody conflict to the death. But what makes “Slayers” revolutionary is that the soldiers are not pixels but real people (death row inmates to be precise) who are controlled and actually killed by the actions and mistakes of the gamers playing safe in their homes.

Gerard Butler plays John “Kable” Tillman, one such condemned avatar whose success at “Slayers” has made him a global superstar. He is but three games away from being the first I-con to be granted his freedom, but when a renegade hacker group called Humanz led by Brother (Fast Five’s Ludacris) grants Kable’s controller, 17 year old console whiz Simon Silverton (Lerman), an upgrade which allows player and avatar to communicate, Kable persuades Simon to relieve him of his control and let him have his body back.

Free to roam and think independently, Kable breaks out of the deadly arena in the hope of tracking down his wife Nika (Valletta) – an avatar on a debauched Sims-like pseudo-community game called “Society” – and his daughter, in the process learning that there is more to Ken Castle’s maniacal plans for his mind-control technology than simply life-like videogames…

A dizzying amalgamation of concepts explored far more effectively in such sci-fi classics as The Matrix, Avatar, Death Race and Battle Royale, Gamer masks its triteness in an unremitting torrent of tasteless frivolity. Par exemple: a nauseatingly obese permanently shirtless male gamer called Gorge (Moore) plays – for perverse reasons all his own – as Nika, dressing her like a whore and making her spank herself and crawl on all fours in front of a player rather unsubtly called Rick Rape (Heroes’ Ventimiglia). Classy (!).

Compounding the sophistication (ahem), the agitated narrative jumps all over the place almost as rapidly as the camera swoops and spins like a kid with ADHD, so you’re constantly playing catch-up and questioning where you are, whose mind you’re in and whether what you’re seeing is reality, game play, flashback or video feed. One thing is for certain, though: Gamer is embarrassing lowbrow twaddle which quickly grows tiresome – and Neveldine and Taylor can’t control your reaction.


In a CR@B Shell: Disordered, frenzied and unsubtle to the point of vulgarity, Gamer is an exasperating mishmash of quality (if hackneyed) genre concepts lost beneath a visual assault of gaudy, offensive, multi-coloured madness. Gamer over.
aaaaa

Sunday, 11 April 2010

Starwell To Heaven

TV Review: DOCTOR WHO - “THE BEAST BELOW”
BBC One - 10th April 2010 – 6:15pm
Written by: Stephen Moffat
Directed by: Andrew Gunn
Starring: Matt Smith, Karen Gillan, Sophie Okonedo, Terrence Hardiman, Hannah Sharp, Christopher Good, Catrin Richards, Jonathan Battersby, Alfie Field, David Ajala, Chris Porter

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Oh dear. Oh dear, oh dear... after last week's high-flying Moffat/Smith era opener, last night's sophomore episode came crashing down as a great disappointment in ALL areas, which is ironic given that “The Eleventh Hour” was grounded on 21st century Earth, while “The Beast Below” took us on a journey to the stars aboard the 29th century Starship UK; a police state comprising all of England's towns and cities aboard one flying landmass. The country's children are upset, creepy rotating clown-headed “Smilers” (see pic, below) sit in decaying Fairground booths passing judgement on the masses while piping a live feed through to Big Brother, and the gigantic ship's engines aren't making the water vibrate. Hmmmm, can somebody call the Doctor (Matt Smith), or, better yet: a science fiction and fantasy film buff...

I was instantly and continually troubled by the episode's truly unoriginal patchwork plot: from the Discworld-esque locale and Mort-dressed surveillance Minders, to the grimmy Blade Runner aesthetic of the post-apocalyptic environ, not to mention numerous cringeworthy Hitchhikers Guide To The Galaxy (Amy in her nightgown for the entire episode) and Star Wars (“My only hope”; garbage chute) references. In short, there was not a single innovative theme, character or device in the entire hectic 45 minutes. But it wasn't only classic genre pieces that Moffat borrowed from: modern science-fiction was also mined in the form of Lost-like video diaries as evidence of the hidden truth behind Starship UK's engine-less flight, and a Protest/Forget button in the Voting Booth somewhat simplifying the red-pill/blue-pill quandary facing Neo in The Matrix.

I wish I had been able to chose 'Forget' and erase any memory of this below-par adventure, especially when the gothic-gowned Phantom of the Opera impersonator trailing the Doctor turned out to be Liz Ten (Sophie Okonedo), the future Queen of England (with the most annoying “common” accent ever: “I'm the bloody Queen, mate. Basically, I rule.” *cringe*) who has been kept in the dark about the horrific and inhumane truth behind her country's Pratchett-plagiarising propulsion practises, pushing the episode's primary concern over the children's safety to the background for far too long (while Hannah Sharp's schoolgirl Mandy stood around idle yet still in shot).

Furthermore, I can't say I was overly taken by Matt Smith's portrayal of the Doctor this week; he is clearly comfortable in the role but I found myself getting more and more exasperated by his increasingly kooky asides and scatty persona, which failed to make me smile like Tennant used to. It also seems like more of an act, given how ridiculously well-informed he truly is. You may feel I am being overly hard on “The Beast Below”, so I will leave you on a positive note (yes, there is one); the plot climaxed with an emotional intensity which really helped bond the Doctor and his new assistant, as Amy Pond (Karen Gillan) saved the day by making a parallel to the immortal Doctor's loneliness. It was a mature and well acted scene, if only Moffat didn't feel the need to drive the message home by repeating it nearly word-for-word in the star-gazing epilogue, akin to the way the early Harry Potter films spelt out EVERYTHING to aid the youthful demographic.


CR@B Verdict: A hackneyed dud worryingly early on in the new series, the only bright lights being an emotional intensity to the climax and a number of subtle callbacks (Magpie Electricals) and references (like on Amelia's wall, a crack appears on the side of Starship UK) to keep the loyal fanbase content. A prime example of Who trying too hard.
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